In the past, tape-based standard definition video re-encoding has been a mechanical process, where a compressionist or a video quality engineer would verify the video quality of the source, encode or the re-encode (fixes) and requested video artifact fixes based on their visual findings. Referring to FIG. 1, a conventional tape workflow for encoding a video is illustrated. Generally, a tape is acquired containing a video 10. The tape is then loaded onto a tape drive 12 to be ingested by an encoding system. Various encoding/recoding parameters would be applied to the video 14 and the video would be encoded 16 resulting in an encoded file 18. The compressionist would essentially re-run the tape-based content through the available filtering, digital video noise-reducers, compression and other hardware/software, e.g., multiple iterations, 20 to get the desired re-encoded video output results 22. The multiple iterations of the re-encoding may be encoder driven re-encoding or QC (quality control) driven re-encoding. Encoder driven re-encodings are automatic (can also be manual) re-encodes based on some statistical analysis of bit-rate allocation, video quality/artifact, peak-signal-to-noise ratio, or any combination of these together. QC driven encoding are compressionist or video quality engineer driven re-encodings to improve the video quality that may have been missed by the above statistical analysis process due to the highly random nature of the video content being encoded. Regardless of what is driving the process, the conventional workflow requires tedious back-and-forth work to resolve the video artifacts with no mechanism to capture re-encoding parameters that work well for certain types of artifacts.
The compression codecs used during this time were simple and well understood. This was sufficient for standard definition disc formats as the volume of a video feature that was encoded was quite modest due to physical limitation of older optical storage media. Also, tape-based distribution (e.g., VHS tapes, DLT, etc) was the preferred means to ingest into different avenues of video for standard definition production as assets were fewer, manageable and served well for this particular production. However, this process was time consuming and prone to errors. Furthermore, the conventional tape workflow did not keep a history of fixes other than the last fix, and therefore, did not allow for comparison between versions of fixes.
With the advent of newer increased optical storage space media with supported advance codecs such as H.264 (AVC) and better compression ratio to video quality, it has become possible to make use of this additional disc space for other value added contents such as games, bonus video content, interviews, concerts, picture-in-picture, and events that client/consumers demand today. This has also essentially increased the sheer volume of high-definition video content, increased complexity (multiple systems, softwares, etc) and time necessary for successful encodes, heightened the need to better manage/understand the digital content and increased value added material, however, with a shorter turn around time to complete this additional content material. Using the old conventional standard definition production workflow would not be a viable proposition. This has required moving the high definition production toward tapeless distribution to make this process more cost effective as that would require less physical assets (D5 tapes, DLTs, etc) to keep track and store and make it easier to manipulate/work digitally.
Therefore, a need exists for techniques to overcome the disadvantages of the conventional tapeless digital workflow and better manage the re-encoding process that increases efficiency for the compressionist by enabling reusability of their learning, allowing application of multiple re-encoding properties/tools, and affording ease of use and control.